Black Grape Shirt
We’re coming off a month of shows, and we’ve seen exceptional clothes from beginning to end, but a lot of them seem designed for an imaginary world, or at least one I don’t recognize, where women (girls, really, because so may of the models are so young) wear skyscraper heels and swaddle themselves in fur, enough to choke on! What I love about Jun Takahashi’s work at Undercover, and this collection in particular, is that it makes me dream, but it’s recognizably of the real world. This season he was reflecting on the passage of time, picking up the thread of a collection from 2004, adding bits and bobs and sundry treasures that a woman might accumulate over a couple of decades to jackets and coats, and cutting them with the sagging seams and hems that come with really living in clothes. He presented it on a cast of models with gray hair, wrinkles, and envy-inducing elegance. That Takahashi is not a corporate giant, that his company is human-sized, and his ambitions too, has a lot to do with its emotional resonance, I think.—Nicole Phelps, Global Director of Vogue Runway and Vogue BusinessBlack Grape Shirt
Sometimes everything comes together in a show and creates something very special, something that you’ll remember for years to come. Haider Ackermann’s debut at Tom Ford was one of those moments for me. By the third look, you knew it was good; by the time those delicious colored suits came out you knew it was really good. I’m still obsessing over the tuxedo jumpsuit…. Tom Ford and Haider Ackermann are great designers. Who knew the combination of the two would be so wonderful to witness?—Virginia Smith,Global Head of Fashion Network It was International Women’s Day last Saturday when Rei Kawakubo showed what I took to be her giant metaphor for her fight-back against the oppressive forces of corporate power. Current political events had mostly been felt as noises-off during this anxious fall 2025 season—the most head-on relevant feminist show in Paris that day was the Femen street protest against the rise of fascism, an historic marker of the times we’re living in which really warrants a viewing. Kawakubo did not link her Comme collection to IWD, but context is everything. As she started her show with huge distorted figures of menswear pinstripes and checks, it couldn’t help but make a chilling parallel with the disgusting spectacle of suit-based bullying that had just gone on in the Oval Office. Caveat that observation with the fact that Kawakubo never does anything on-the-nose as narrative themes, but as her show progressed, the steady takeover of multiple symbols of ‘female’ clothing on that runway hit me as a message of resilience and hope.—Sarah Mower, Vogue Runway Contributor
Product Highlights
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